If one examines the submaterial paradigm of consensus, one is faced with a choice: either reject modernist presemantic theory or conclude that sexual identity, perhaps paradoxically, has intrinsic meaning. The primary theme of Scuglia’s[1] essay on the submaterial paradigm of consensus is a subdialectic paradox. However, if cultural discourse holds, we have to choose between modernist presemantic theory and cultural neocapitalist theory.

“Class is fundamentally meaningless,” says Debord; however, according to Long[2] , it is not so much class that is fundamentally meaningless, but rather the defining characteristic, and some would say the futility, of class. Derrida promotes the use of the submaterial paradigm of consensus to modify sexual identity. Thus, McElwaine[3] suggests that we have to choose between modernist presemantic theory and postcapitalist constructive theory.

In the works of Ese Callum, a predominant concept is the concept of subcapitalist reality. The premise of the submaterial paradigm of consensus implies that context is created by the collective unconscious. Therefore, the subject is interpolated into a modernist presemantic theory that includes truth as a reality.

If one examines textual Marxism, one is faced with a choice: either accept the submaterial paradigm of consensus or conclude that art has objective value, given that narrativity is distinct from truth. The main theme of the works of Rushdie is the rubicon, and therefore the stasis, of neoconceptualist sexual identity. However, Sartre uses the term ‘the dialectic paradigm of narrative’ to denote the role of the participant as reader.

“Class is responsible for hierarchy,” says Foucault. The primary theme of Porter’s[4] critique of cultural discourse is the common ground between sexual identity and class. Thus, the subject is contextualised into a submaterial paradigm of consensus that includes language as a whole.

Sontag’s model of cultural discourse holds that the raison d’etre of the writer is deconstruction. Therefore, an abundance of deappropriations concerning not sublimation per se, but subsublimation may be discovered.

The subject is interpolated into a modernist presemantic theory that includes art as a totality. It could be said that the main theme of the works of Rushdie is the collapse, and some would say the rubicon, of neotextual society.

Marx uses the term ‘cultural discourse’ to denote a mythopoetical reality. But if modernist presemantic theory holds, the works of Rushdie are postmodern.

The subject is contextualised into a submaterial paradigm of consensus that includes culture as a whole. Thus, Lacan uses the term ‘cultural discourse’ to denote the difference between sexual identity and class.

The premise of the submaterial paradigm of consensus suggests that language is used to disempower minorities. However, several narratives concerning cultural discourse exist.

The futility, and subsequent rubicon, of cultural discourse depicted in Rushdie’s Midnight’s Children emerges again in The Ground Beneath Her Feet, although in a more predialectic sense. Thus, Prinn[5] implies that we have to choose between modernist presemantic theory and textual subcultural theory.2. Contexts of fatal flaw

In the works of Ese Callum, a predominant concept is the distinction between figure and ground. An abundance of theories concerning not, in fact, narrative, but prenarrative may be found. But if semantic theory holds, we have to choose between cultural discourse and the neotextual paradigm of consensus.

If one examines the submaterial paradigm of consensus, one is faced with a choice: either reject modernist presemantic theory or conclude that society, somewhat surprisingly, has intrinsic meaning. The submaterial paradigm of consensus states that reality is part of the paradigm of truth, given that the premise of cultural discourse is invalid. It could be said that Foucault suggests the use of constructivist materialism to deconstruct class divisions.

Any number of depatriarchialisms concerning modernist presemantic theory exist. Therefore, Sartre uses the term ‘the submaterial paradigm of consensus’ to denote the rubicon of pretextual sexual identity.

Cultural discourse holds that the goal of the artist is social comment. However, Debord uses the term ‘modernist presemantic theory’ to denote the bridge between society and sexual identity.

The primary theme of Reicher’s[6] essay on the submaterial paradigm of consensus is the economy, and subsequent meaninglessness, of capitalist society. It could be said that in Four Rooms, Tarantino affirms postdialectic narrative; in Pulp Fiction, however, he denies the submaterial paradigm of consensus.3. Tarantino and modernist presemantic theory

In the works of Ese Callum, a predominant concept is the concept of cultural language. Bataille’s critique of cultural discourse implies that narrativity has significance. Thus, the without/within distinction intrinsic to Tarantino’s Jackie Brown is also evident in Four Rooms.

“Society is used in the service of sexism,” says Baudrillard; however, according to Hamburger[7] , it is not so much society that is used in the service of sexism, but rather the genre of society. Drucker[8] holds that we have to choose between modernist presemantic theory and textual theory. However, if cultural discourse holds, the works of Tarantino are modernistic.

The main theme of the works of Tarantino is a self-justifying reality. Many narratives concerning the common ground between class and consciousness may be discovered. But Bataille promotes the use of modernist presemantic theory to read and analyse sexual identity.

Drucker[9] suggests that we have to choose between cultural discourse and material libertarianism. In a sense, in Pulp Fiction, Tarantino deconstructs the submaterial paradigm of consensus; in Jackie Brown he affirms cultural discourse.

The characteristic theme of Geoffrey’s[10] essay on Sartreist existentialism is the failure, and subsequent meaninglessness, of dialectic society. Therefore, the subject is interpolated into a modernist presemantic theory that includes culture as a whole.

The subconstructivist paradigm of expression states that narrativity may be used to entrench class divisions. In a sense, if modernist presemantic theory holds, the works of Tarantino are postmodern.

The primary theme of the works of Tarantino is the role of the participant as artist. However, Lyotard uses the term ‘textual postcapitalist theory’ to denote the fatal flaw, and some would say the defining characteristic, of textual sexual identity.

Marx suggests the use of modernist presemantic theory to challenge sexism. It could be said that Hamburger[11] implies that we have to choose between the textual paradigm of narrative and neoconstructive patriarchialist theory.4. Contexts of stasis

In the works of Ese Callum, a predominant concept is the distinction between destruction and creation. The example of the submaterial paradigm of consensus depicted in Tarantino’s Pulp Fiction emerges again in Jackie Brown, although in a more submaterial sense. But any number of deappropriations concerning modernist presemantic theory exist.

Lacan promotes the use of the submaterial paradigm of consensus to modify reality. It could be said that Derrida uses the term ‘cultural discourse’ to denote a mythopoetical totality.

The premise of Lacanist obscurity states that the State is capable of significance, but only if language is interchangeable with sexuality. But Baudrillard suggests the use of the submaterial paradigm of consensus to attack the status quo.5. Tarantino and cultural discourse

If one examines the submaterial paradigm of consensus, one is faced with a choice: either accept the cultural paradigm of narrative or conclude that consciousness is intrinsically unattainable. The main theme of Humphrey’s[12] critique of modernist presemantic theory is the bridge between sexual identity and art. Therefore, several theories concerning the failure, and subsequent genre, of neocapitalist class may be found.

In the works of Ese Callum, a predominant concept is the concept of cultural sexuality. If precapitalist patriarchialist theory holds, we have to choose between cultural discourse and the postcapitalist paradigm of discourse. In a sense, in Pulp Fiction, Tarantino denies cultural destructuralism; in Reservoir Dogs, although, he deconstructs modernist presemantic theory.

Subconstructivist cultural theory suggests that the task of the poet is significant form. It could be said that the masculine/feminine distinction which is a central theme of Tarantino’s Four Rooms is also evident in Reservoir Dogs.

Reicher[13] holds that we have to choose between the submaterial paradigm of consensus and the pretextual paradigm of expression. Thus, Sartre’s essay on cultural discourse states that the collective is capable of intent.

If the submaterial paradigm of consensus holds, we have to choose between capitalist theory and postsemioticist dialectic theory. Therefore, the subject is contextualised into a modernist presemantic theory that includes culture as a whole.6. Consensuses of rubicon

“Society is part of the absurdity of language,” says Sontag; however, according to Long[14] , it is not so much society that is part of the absurdity of language, but rather the defining characteristic, and eventually the genre, of society. Cultural discourse holds that narrativity is fundamentally a legal fiction, but only if the premise of neocapitalist narrative is valid; otherwise, we can assume that expression comes from communication. Thus, the subject is interpolated into a modernist presemantic theory that includes sexuality as a totality.

The characteristic theme of the works of Gibson is a self-supporting whole. Lacan’s model of materialist subdeconstructive theory states that consciousness is used to oppress the Other, given that reality is distinct from sexuality. It could be said that the subject is contextualised into a cultural discourse that includes narrativity as a paradox.

“Class is dead,” says Foucault. Any number of theories concerning modernist presemantic theory exist. Therefore, Parry[15] implies that the works of Gibson are not postmodern.

The main theme of Scuglia’s[16] critique of cultural discourse is the futility, and subsequent defining characteristic, of semioticist sexual identity. Bataille uses the term ‘the submaterial paradigm of consensus’ to denote the common ground between society and reality. But Baudrillard promotes the use of predialectic capitalist theory to read and analyse sexual identity.

The submaterial paradigm of consensus suggests that the significance of the artist is social comment. However, Derrida suggests the use of cultural discourse to challenge capitalism.

A number of narratives concerning the role of the observer as reader may be discovered. Thus, the subject is interpolated into a submaterial paradigm of consensus that includes language as a whole.

The example of Lacanist obscurity prevalent in Gibson’s Neuromancer emerges again in Idoru, although in a more mythopoetical sense. Therefore, Derrida uses the term ‘cultural discourse’ to denote the rubicon, and hence the defining characteristic, of subdeconstructivist class.

The subject is contextualised into a capitalist posttextual theory that includes culture as a paradox. But Lyotard promotes the use of cultural discourse to deconstruct society.

If modernist presemantic theory holds, we have to choose between semioticist discourse and subcultural dialectic theory. However, Baudrillard uses the term ‘cultural discourse’ to denote the role of the observer as writer.

This can be distilled into a simple form for people with simple minds such that:-

I am Ese Callumby The Aggregate Kid

i am the mountain oftorture, that was in love, now shehas a broken heart my lifesucks, i look so dumb i can’t stopthese thoughts are the sun, themoon, and the children run totheir rooms, for they must do workall day; and as butterful as abird who cannot yet fly? or am ithere or am i in here or am i yourlove? am i to be someday… hewill always be there.

hbz is my friendship with youwhen you look around you seem tounderstand my hopes and dreams. youdont know your wish, and sothat’s why a child’s right is thatthe people by you mad made themhate and want to go further. thepull of gravity, keeps me here.i’m too weak to touch reality. inever met you i am the sun forrising and bringing us another dayof my goal i am without lovei’m without love then irealized, it wasn’t i needed to touchreality.

That is because essentially it is lines lifted from papers and slotted together- it is BS.In my previous career incarnation I had to read lots of papers on social theory of different topics, hence I can confidently say it is rubbish. The Ese Callum is I suspect a made up name, and belongs to a nutcase who tried to promote sellotape bin bags and Collodial Silver as an effective remedy against infection.

Like Variola, I have also flirted with the dark side; and yet, I could not find any meaning or any two sentences that I would put together. I suddenly understood the reason for this - it is intentional rubbish: created by a machine to mimic the deliberately complicated method of writing in the theoretical end of some of the social sciences.

Quote

The Postmodernism Generator was written by Andrew C. Bulhak using the Dada Engine, a system for generating random text from recursive grammars, and modified very slightly by Josh Larios (this version, anyway. There are others out there).

This installation of the Generator has delivered 4475567 essays since 25/Feb/2000 18:43:09 PST, when it became operational.

More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/264: “On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks”. An on-line copy is available from Monash University.

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